Press Room 2002

Il Barbiere di Siviglia – Florence

Maggio Musicale Fiorentino – 24-27-29 January – 2-5 February 2002

From L’Opera n. 158 – February 2002

The barber’s kaleidoscope

 “… Daniela Barcellona was definitely in full command of the situation; hers the broadest, most fluent and flexible mezzosoprano voice currently working in this repertory. Even her Rosina – not comparable for vocal and physical power to her matchless travesti roles – was remarkable for the polished timbre, perfect uniformity of color and the resplendent virtuosity of her voice. She also displays an expressive ease that has great power to communicate, all of which made her the real success of the evening…”

Davide Annachini

“Il giornale della Toscana” 26 January 2002

Mrs Barcellona dominates in the “Barber”

The mezzosoprano is the undisputed star

Daniela Barcellona dominated the opera with her powerful voice, rapport with the audience and character. She was much applauded.

“… The best things were offered by the voices. The mezzosoprano Daniela Barcellona possesses a beautiful, dense and expressive voice...” 

Marcello de Angelis

“La Repubblica” 26 January 2002

 “… Barcellona possesses a luxuriously dark voice: quite ample, with an impressive volume, it seems to rise from the depths of Avernus, but can also be very flexible, as in agilities. Her musical taste is extremely refined and her stylistic awareness perfect. Her cavatina was rewarded by an outpouring of applause. The specific weight of her vocal instrument and her imposing physique make her Rosina something far different from the usual saucy and spirited maiden. Instead, she assumes the traits of a mature and cunning woman, so her character acquires an almost tragic consistancy. And even more so in a production where, due to both her physical and vocal presence, the other singers are relegated to secondary roles …”

Gregorio Moppi

La Favorite – Las Palmas

Teatro Cuyás –12-14-16 March 2002

“L’Opera” n. 160 – April 2002

 “… Daniela Barcellona unleashed her beautiful and potent voice in order to portray a sweetly compliant, but resolute and dramatic Léonor. The richness of her color range, fine phrasing and excellent vocal technique forecast an ever more radiant future for the Italian mezzosoprano …”

Sabino Lenoci

“L’Opera Actual” n. 51 – May - June 2002

Daniela Barcellon attracted the most attention in La Favorite, performed in Las Palmas

“… she blazed with all the stupendous quality and power of her voice in an interpretation of Léonor full of sensitivity and truth…”

Cayetano Sanchez

“La Provincia” Diario de Las Palmas - 14 March 2002

Youthful and convincing Favorite

“… we’ll begin with Daniela Barcellona, not out of gallantry, but due to the enthusiastic acclaim she received, a performer who already made an excellent impression in the Barber two seasons ago. This young mezzosoprano not only has an exceptionally strong and beautiful voice, but was also technically self-assured throughout her entire performance. Her dedication and expressiveness also make the dramatic strength of her character perfectly believable, so much so that she succeeded in moving the audience. In both the duets with tenor and baritone, and in her aria, Barcellona gave her all and was fully deserving of the applause which indicated the audience’s satisfaction at being able to delight in such a first-rate singer …”

Leopoldo Rojas-O’Donnell

 “… Daniela Barcellona demonstrated all her excellence on this stage, confirming herself as one of the leading mezzosopranos of the moment, not only for her immense vocal qualities, but also for the convincing way in which she interprets her character…”

M.R. Sanchez M.

I Capuleti e i Montecchi - Las Palmas

Teatro Cuyás – 9-11-13 April 2002

“La Provincia” – Diario de Las Palmas - 14 April 2002

New “Aetas Aurea” of bel canto

“… People continue to talk about the crisis in operatic voices and maestros; there is a general nostalgia for the magnificent voices of the past and we hear many complaints about the current operatic scene. But, frankly, in listening to the duets of Daniela Barcellona and Cristina Gallardo Domas, not only did we not regret the past, but we were deeply moved by these two magnificent voices and interpretations …

The greatest interest was reserved for the female duet. In addition to their excellent voices, Barcellona and Gallardo also exhibited that total expressive abandon, without which the pure Bellinian style is impossible… Daniela Barcellona gave us an impressive Romeo, thereby remaining true to Bellini who entrusted the original role to a mezzosoprano (Giuditta Grisi) and not to a castrato, as is often believed… The beauty of her voice is absolutely uniform, from the lowest note (impressive the chest register in the low G of the cavatina) to the highest (the spectacular natural B of the cabaletta). Her solid technique and expressiveness make her Romeo something of a milestone, and one which won’t be improved upon any time soon.”

Leopoldo Rojas-O’Donnell

“L’Opera” n. 160 – May 2002

 “… Daniela Barcellona made her dazzling debut as Romeo (the second in one month, as she was in Las Palmas in March as Léonor in La Favorite). The Triestine mezzosoprano won the audience with her impressive self-assurance and power “graven in marble” which enable her to overcome the most daunting agilities and most perilous variations. To which if we add her perfectly controlled taste and the velvet beauty of the vocal finish, uniform and bronze-like (but a bronze with reflections of gold) in all registers we can understand her enthusiastic reception. If passages such as “tremenda ultrice spada” were handled with the style and command of a super-diva, in which the scintillating coruscations were given their due, even in the most lyrical and pathetic moments (the deeply moving “Deh, tu bell’anima”) Daniela Barcellona showed a vocal beauty which is not just the result of extraordinary technique: it is “soul”, pure soul … The audience showed its appreciation, applauding both the music and the vocals, often mid-scene, with a final ovation for Cristina Gallardo Domas and Daniela Barcellona.”

Nicola Salmoiraghi

Le siège de Corinthe – Corinth

Acrocorinto, 28-30 June 2002

“L’Opera” n. 163 – July-August 2002

The Siege in the places of the siege

“… Superb performance by Daniela Barcellona as Néocles. Her finely burnished and pathetic timbre, a gratifying stylistic confidence and her masterful travesti interpretations make her affinity for Rossini’s warrior roles something to be increasingly treasured.”  

Roberto Mori

“Opernglas” – September 2002

 “… the biggest applause quite rightly went to the young Daniela Barcellona in the role of Néocles. Her mezzosoprano voice enchants for the richness of its nuances and intense timbre, but especially for the controlled attacks, which make her performances well worth seeing. She quickly won over the audience with her refined embellishments… She is among the most promising of today’s young talents…”

R.Tiedemann

La donna del lago – Salzburg

Festival – 27-29 August 2002

“L’Opera” n. 165 - October 2002

 “… Daniela Barcellona was particularly impressive in the travesti role of Malcolm, Elena’s lover. Indeed, she surprised the audience with her intense interpretation. She’s a real natural phenomenon with a powerful mezzosoprano voice…”

Helmut Christian Mayer

“Il corriere della sera” 29 August 2002

 “… the evening generated a unanimous enthusiasm, unmatched in this year’s festival … A silver medal to Daniela Barcellona, a contralto with a voice that is big and expressive, but also very flexible…”

“Liberation” 29 August 2002

A Donna del lago of another time

“… mezzosoprano Daniela Barcellona is also accustomed to big scenes. Her Malcolm (finally!) has a real bel canto bite to it, which is right on target in “Mura felici” and the cavatina “Elena oh tu, che chiamo”, in aria n° 11 “Ah! Si pera: ormai la morte”, while displaying gorgeous coloraturas in “Che sento oh me infelice!””

Erich Dahan

“Il Piccolo” 31 August 2002

A superb performance by the mezzosoprano Daniela Barcellona, a real triumph in Salzburg. After an impressive string of successes on the stages of half the world, the young Triestine singer, Daniela Barcellona, almost succeeded in stealing the show from the celebrated Peruvian tenor Juan Diego Flores during last Tuesday’s performance of Rossini’s demanding La donna del lago, at the Salzburg Summer Festival. In a programme that left much to be desired in terms of artistic quality, Barcellona’s performance was definitely one of the best, in what is the traditional gathering of all the major maestros and singers before the start of the opera season. Another confirmation therefore, for this young singer, who has been acclaimed in the most prestigious concert halls and opera houses in the world, from La Scala in Milan to the New York Metropolitan, from the Opera in Rome to the Berlin Philarmonie. After winning several competitions (including the legendary Pavarotti Competition), Daniela Barcellona received her international baptism at the Rossini Opera Festival in Pesaro, where she sang the lead role in Tancredi. Last year she had another great success in La donna del lago, and in December, 2001, she won the “Golden Rossini” Award.

“Opera international” – September 2002

 “… great success for Daniela Barcellona who endows her Malcolm travesti role with great dramatic intensity…”

P.C.

“Opernglas” n. 10 – October 2002

“… the mezzosoprano Daniela Barcellona, in the Malcolm travesti role, performs Rossini with peerless mastery, in an interpretation that is both self-assured and refined. With a voice full of harmonics and nuances, she infuses her character with life: sweet and vigorous in the cantabili, with a full command of the attacks in the cabalette. It’s a pity that the score does not offer her a duet with her tenor counterpart, as this would make her success complete…”

F. Heurich

LUCREZIA BORGIA – MILAN

Teatro degli Arcimboldi – 28-30 September – 2-4-7 October 2002

“L’Opera” n. 165 – October 2002

 “… Fantastic performance by Daniela Barcellona in the role of Maffio Orsini. The mezzosoprano displayed all the charm of her nuanced vocal color, which is tinged with velvety reflections in the lower register. With a flawless, shining high register and an absolute command of bel canto technique and style, the singer hurled herself with total confidence into the whirling stanzas of her toast “Il segreto per essere felici”, with appropriate and immaginative variations in the ripresam. Possessed of a first-rate technique, Barcellona was also superb in the duet with Alvarez in Act II, where her vocal gifts combined with her equally noteworthy acting skills…”

Nicola Salmoiraghi

“La Repubblica”

Arcimboldi: what a wonderful Lucrezia

 “… Daniela Barcellona’s physically imposing and vocally prominent Orsini stood out in the first cast…”

Angelo Foletto

“La stampa”

The dream of bel canto exalted in Lucrezia

 “… and Maffio Orsini has Daniela Barcellona’s splendid travesti voice: strutting boldly in the trappings of the warrior, with her dark, warm, harmonically rich singing, she increased our listening pleasure, an indispensable element for bringing Lucrezia Borgia to life…”

Paolo Gallarati

“Vivi Milano”

Lucrezia Borgia? A loving mother

 “… a remarkable vocal cast, dominated by Mariella Devia… with Daniela Barcellona (one of the most interesting mezzosoprano voices on the opera scene today) in Maffio Orsini’s travesti role…”

Daniela Zacconi

“Lombardia oggi”

Arcimboldi, Lucrezia Borgia’s return

 “… Mezzosoprano Daniela Barcellona sings in Maffio Orsini’s travesti role. She is definitely one the most interesting performers of the moment…”

“La Provincia di Como”

What a triumph for Lucrezia

“And finally Daniela Barcellona, who performed what is probably the most famous piece in the opera, the toast “Il segreto per esser felici”. Maffio Orsini’s role was entrusted to her radiant mezzosoprano voice…”

Giancarlo Arnaboldi

“La Prealpina”

An almost perfect Lucrezia Borgia

 “… And finally we have a confirmation of mezzosoprano Daniela Barcellona’s vocal gifts, who interprets the travesti role of Maffio Orsini, Gennaro’s friend. Maestro Muti has quite rightly cast her in Gluck’s Iphigénie en Aulide, to be performed on December 7…”

Federica Lonati

“Operaclick”

 “… Every time I listen to Daniela Barcellona I come away amazed. Indeed, it’s extremely rare to encounter an Italian singer who understands the rhythms and entire dialectic of 18th century lyrical drama so perfectly. She knows how to act, move and even breathe the spirit of this music and theatre, and can give meaning to the slightest expression, play of color or least vibration. That said, many critics quite rightly pointed out that in the prologue and elsewhere her voice was not perfectly focused. But here I think we need to make a clarification: I am not one of those who believe that Barcellona has an exceptionally beautiful voice. It has some flaws in the middles and the highs are always a bit rough (although controlled up to C, which is quite remarkable for a contralto). If one expects a heavenly vocal and timbric beauty, they will probably be disappointed. However, if one is looking for an instinctive and uncontaminated revelation of the meaning of 18^th Century drama, handled with an imperceptible balance between stateliness and passion, vehemence and ambiguity, then Barcellona will stand out for what she is: a truly unique singer on the international scene”.

Matteo Marazzi

IPHIGENIE EN AULIDE - MILAN

Teatro degli Arcimboldi –7-10-13-15-18 December 2002

“La Repubblica”

Iphigénie overwhelmed by applause

 “… In Act III, Iphigénie decides to offer herself in sacrifice, bidding adieu first to Achilles and then to Clytemnestre, a mother who reveals her desperation in song (another triumph for the best interpreter in this “female” opera)…

Leonetta Bentivoglio

An elegant and dynamic production

 “… we must also praise Daniela Barcellona’s statuesque Clytemnestre, if not for her French pronunciation, then certainly for her vocal qualities…”

Michelangelo Zurletti

“La stampa”

Muti’s Iphigénie burns with passion

 “… Daniela Barcellona was the heartbroken and wrathful Clytemnestre: a great and tragic personality with a splendid voice for quality and style, though her French pronunciation could still use some improvement…”

Paolo Gallarati

 “… Clytemnestre (Daniela Barcellona) was magnificent. At first pathetic without whining, then, as the sound hardens, telluric, emitting almost a dismal, sombre noise […] while her singing is full of rage and fury when her hatred for her husband Agamemnon erupts.”

Sandro Cappelletto

“Il resto del Carlino” – “La Nazione” – “Il giorno”

Iphigénie finds the absolute

 “… and Daniela Barcellona who, as Clytemnestre, unites passion and clarity, pathos and classicism…”

Lorenzo Arruga

“Il Giornale”

Muti’s sweet Iphigénie conquers the Arcimboldi

 “… from the very first notes, a formidable Clytemnestre, sung by Daniela Barcellona (great temperament, and what applause) unleashes her invective. She implores Jupiter to loose his thunderbolts with great dramatic power and a splendid timbre…” 

Alberto Cantù

“Il Manifesto”

Iphigénie, who’s afraid of the happy ending?

“… it is rare indeed for an opera of this kind to be interrupted repeatedly by applause, in recognition of Violeta Urmana’s (Iphigénie) and Daniela Barcellona’s (Clytemnestre) stupendous performances, characterised by great vocal beauty and expressive intensity…”

Arrigo Quattrocchi

“L’Unità”

Iphigénie: your courage paid off. Thank you, Muti

“… Daniela Barcellona produces an extremely dramatic Clytemnestre and, despite the less than perfect pronunciation, achieves a tragic climax fully deserving of the applause that erupted mid-scene …”

Rubens Tedeschi

“L’Opera” n. 168 – January 2003

“… The leading roles went to two top-flight prima donnas: Violeta Urmana (Iphigénie) and Daniela Barcellona (Clytemnestre)…

…Daniela Barcellona was no less extraordinary. We are already familiar with the velvety splendour of her timbre, the imperious bronze-like tones of the low register and the gleaming highs. Not to mention a personality which is that of a true prima donna. All these qualities were reconfirmed with, if possible, even more maturity and unquestionable authority.

Her Clytemnestre, sung with the aplomb of the great musician, impressed the audience with its fine, gentle taste which, beneath the impeccable surface of the sculpted classicism of her character, concealed the lacerations of a tumultuous soul. The tormented aria in Act II, “Pour un père cruel”, was perfectly wrought, while she hurled herself with abandon and perfectly calibrated impetus into the blazing spiral of the grande aria di furore “Jupiter, lance ta foudre”, an example of tragic bel canto performed with astonishing skill. And, in fact, the greatest ovation of the evening greeted the end of this majestic moment…”

Nicola Salmoiraghi

“Diapason” – February 2003

Iphigénie seeks to soothe her mother’s cares

“… Daniela Barcellona’s Clytemnestre, torn with grief, was a pleasure to behold”

“Famiglia Cristiana” n. 50/2002

Riccardo Muti’s umpteenth triumph

 “… Among the singers, who faced a stylistic as well as vocal challenge, honours to the tormented protagonist, Violeta Urmana, and Daniela Barcellona’s vibrant Clytemnestre.”

Giorgio Gualerzi

“Operaclick” –  8 December 2002

 “… Based on the reviews, the only one who seemed to be really up to the challenge was the splendid Daniela Barcellona…”

Pietro Bagnoli